Recorded live in 1983, Alfred Brendel's third go-round with these works drastically improves on his previous Beethoven concerto cycles. He finds a calmer, more direct route to the Emperor Concerto, although the Fourth's first movement is still pock-marked with finicky phrase adjustments that pull focus from the music's poetic arcs. Levine provides sympathetic and alert support, yet is much more than a mere deferential accompanist.

…There can be little doubt that it is the orchestra as ever, peerless in Brahms that gives this recording its distinctive character. It provides exactly the right fully-fledged symphonic context for Brendel. It also inspires him to realize the solo part with a weightiness of tone and concentration of line that hasn't always been there to complement the natural clarity of his Brahms. Thus, though individual movement timings are virtually identical with those on Brendel's earlier 1973 Amsterdam version on Philips, the scale and musical reach of the performance is considerably extended, as, indeed, is the shrewdness of page after page of musical detailing.

From 1828 and the three posthumous sonatas Brendel has now gone back in Schubert's life to 1826 and 1825, i.e. to the G major and the unfinished C major sonatas. The G major work was not first published as a "Fantasy" for nothing: though not all that technically demanding, it is one of the most difficult to bring off in view of its leisurely, musing style and general air of benignity. Brendel never for a moment allows attention to wander. He plays it very simply and self-communingly, and somehow mesmerizes you with the raptness and radiance of it all. His lyrical tone is particularly beautiful (though just once or twice his delight in melody causes him to underplay the accompaniment).

Among his favourite composers, Alfred Brendel has developed a long and fruitful partnership with Joseph Haydn. Exponent of the Viennese Classicism, Haydn seems to be one of the most suitable of composers to Brendel's playing style, from several reasons. Mainly, both the composer and his interpreter exhibit generously quite similar qualities when making music, such as: an unfailing wit, a refined sense of humour, and a tireless disposition to play - to play with emotions, with unanswered questions, even with philosophical or ethical themes.

Every work here is a delight for different reasons, and three of them are more than that: the sonatas #s 40 and 52 and the Andante con Variazioni. Two are brief: #37 (10:33) and #40 (12:14). #37 is a charmer,with a brief Largo amidst two an open Allegro con Brio and a closing Presto-ma non Troppo. The outer movements are effervescent and quite memorable-the Finale slightly more than the first movement. #40 is divided between a nine minute first movement (Allegro e Innocente) and a three minute Presto.

This is Brendel's third Haydn record in recent years (the other two, also on Philips, are 9500 774, 8/81 and 6514 317, 11/83), and it offers three sonatas and two oddities in superlative performances, beautifully recorded. The lack of dynamics in the B minor means Haydn expected it to be played mainly on the harpsichord, but this leaves Brendel free to find his own dynamics which he does with impeccable taste. The robust outer movements in fact are well suited to a piano, and the central minuet offers a delicate contrast. The D major, later, and definitely for piano, consists only of a long set of variations and a short quick finale.

These sonatas are magnificent creations, wonderfully well played by Alfred Brendel. Within the order and scale of these works Haydn explores a rich diversity of musical languages, a wit and broadness…

— Gramophone Classical Music Guide

Like Gilels, Brendel treats the Op. 35 Variations as far more than a poor relation of the Eroica Symphony finale. His approach has less of the urgent, seemingly improvisatory thrust which makes the Gilels DG performance (on LP only) so compelling, but the sharpness with which he characterizes each variation is a delight, each time bringing a moment of revelation, and often relating this essentially middle-period work to much later inspirations. The six Bagatelles of Op. 126 equally find Brendel giving these fragments a weight, concentration and seriousness to reflect what else Beethoven was writing at the time. There is a gruffness of expression with charm eliminated. The third Bagatelle is the more moving for its simple gravity, and only in the final one of the group does Brendel allow himself to relax in persuasive warmth. Fur Elise makes a simple, haunting prelude to the group and the six Ecossaises a jolly postude with Brendel evoking the bluff jollity of Austrian dance music.